Running with the Devil. Robert Walser
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Название: Running with the Devil

Автор: Robert Walser

Издательство: Ingram

Жанр: Культурология

Серия: Music/Culture

isbn: 9780819575159

isbn:

СКАЧАТЬ studies, and for any group of researchers who see music as a discursive formation, is to continue listening to music as dialog—understanding how it fits into the lives of its participants, articulates their experiences, and speaks back to the larger social worlds in which they are embedded. But more than just listening to those dialogs, we scholars of metal, and those who study any form of expressive culture, must carry those dialogs forward in our own interventions, amplifying those voices, interpreting them with a sensitive but critical ear, and engaging in the struggles that gave those musics life and continue to make them meaningful.

      Notes

      1. Some musicologists and music theorists may be dismissive of the generic schemes constructed by the fans who have developed the Encyclopaedia Metallum or Wikipedia’s “Subgenres” article. It is true that, with the exception of those writers that release their work in the kind of specialist publications like Guitar Player and Guitar for the Practicing Musician that Walser discusses, fan and journalistic sources generally do not produce the explicit, systematic analyses of music structure that academic musicologists or music theorists prize. But, I would argue, such fan sources (and many journalistic writings) deserve careful attention from scholars because they offer crucial insights into insider views of the organization of musical discourse. In addition, they often reveal dimensions of structure that outsider perspectives fail to discover. In this context, their generic systems are a useful index of the breadth of musical diversity in contemporary metal and esoteric perspectives upon it.

      2. Weinstein published a revised edition of this book under the new title Heavy Metal: The Music and Its Culture (2000).

      3. Walser’s writing was occasionally lighthearted as well. The title of the final section of Running’s last chapter, “Guns N’ Roses N’ Marx N’ Engels,” may be the best A-head that the field of popular music studies has yet produced.

      4. On the role of neofascism in contemporary metal, see Hochhauser (2011).

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